KAOS Alice (tour)
Seeing literary classics brought to the stage is no rarity. What’s somewhat less common is to see them simultaneously transplanted into modern-day surroundings and situations, as is the case with KAOS Theatre’s unique version of Alice in Wonderland.
Those acquainted with Lewis Carroll’s vividly imagined stories will enjoy this new production for its challenging mix of ensemble playing, puppetry and dark, disturbing imagery. However, those unfamiliar with the original work may find themselves left behind without picking up any of the references.
Billed as ‘an urban nightmare’, Kaos’ Alice has fallen into a court case. Now a social worker under investigation for allowing a baby to become mysteriously changed into a piglet, her lawyer is a rabbit and her superiors are all as mad as hatters, spending money on tea parties, sitting endlessly, concluding little.
The result of this bizarre chain of events is a complicated, yet strangely engrossing, night out. It’s never been proven that Carroll wrote the original Alice works while under the influence of hallucinatory drugs, but writer-director Xavier Leret has clearly embraced that notion in The KAOS Alice. And, giving modern twists to many of the book’s key aspects, the likes of headline paedophiles, the Iraq conflict, and even Tony Blair’s speech to the Labour Party conference getting in on the act.
Sarah Thom, as Alice, stands out from the rest of the ensemble. Of course, her job is quite a lot clearer and easier than the story’s other characters, of whom there are so many they become just people in. Without a doubt, the play’s finest scenes are Thom’s dialogues with, wait for it, four Biro pens and a suicidal loner, Humpty Dumpty. Yes, it doesn’t get much stranger than this.
On the creative side, there’s some great talent at work: Jules Bushell and Maria Jaqusz‘s eerie soundtrack, which plays continuously, beams the production from the stage to the silver screen in its emotive qualities and intentions; Jo Pocock (of Shockheaded Peter success) brings puppets and people together with a great eye; and Sarah Blenkinsop‘s set is wonderfully versatile despite appearing somewhat amateurish.
“I’m confused,” a green ballpoint pen tells Alice, who replies: “yes, so am I”. Could anything sum up this evening better? Well, perhaps the judge who, near the evening, reiterates the point by asking: “Does anybody know what’s going on?” Not really.
– Jake Brunger (reviewed at Lakeside Arts Centre, Nottingham)
